MUMBAI: Indian classical violinist from Chennai Kala Ramnath has graced the stages of numerous prestigious music festivals worldwide, including the Sydney Opera House, London's Queen Elizabeth Hall, and New York's Carnegie Hall. Notably, she recently enchanted the audience at the Musical Belongings series alongside Dr. Jayanthi Kumaresh, held in Berlin during June.

Ramanath is soon to perform at Behala Classical Festival, Kolkata, 12 January, 2024.

Radioandmusic got in touch with Kala Ramnath, where she shares her views on how we all should relish the fact that Violin is an Indian instrument and refer to violin as Dhanur Veena and more.

Check interview below:

How does recognizing the Violin as Dhanur Veena preserve its cultural identity, given its historical presence in Indian temples?

Music and spirituality have been part of Indian culture and tradition, and they always go hand in hand. So, it is obvious that you will find its presence in temples in the form of sculptures as we have not documented our music ever. All I am asking is for the world to recognize that the present-day violin is not something the West created but it is our Dhanur vina. Let’s take pride in our creations and not let the West give us our creations and call them theirs!!

What challenges and opportunities do you anticipate in promoting the Violin as Dhanur Veena on a global scale?

I only wish all our countrymen and women recognize that the violin was not discovered by the West and take pride in the fact that this instrument also is an Indian instrument that found its way to the West and as is the case in history many a time and was returned to us as a western instrument. In fact, this instrument is more Indian than even the Sitar or Sarod. So, let’s all join together and let the world know that this is an Indian instrument, and it is ours.

How do you plan to collaborate with other prominent violinists to advocate for the Indian identity of the Violin?

Many of the ace violinists from the South like Ganesh Kumaresh, Lalgudi G.J.R Krishnan, and Lalgudi Vijayalakshmi are all doing their best to talk about this at every opportunity to make the public aware of this fact. It’s also up to the media to reach this discovery all over the world of how the credit for this invention should go to India and not the West.

How might audiences, both in India and globally, respond to embracing the term Dhanur Veena for the Violin?

If the Hawaiian guitar which is a Western instrument completely can be called Mohan Vina and accepted as an Indian instrument why not the violin whose origins are from India be called Dhanur vina? I am only asking to clear this misconception that the violin is a Western instrument. For me, it does not matter if it is called dhanur vina or violin, but it is an instrument with Indian Origins and that is what I want to be made clear to the world.

Do you see potential for educational initiatives highlighting the historical roots of the Violin as Dhanur Veena, and how could they contribute to a broader understanding of Indian classical music?

Today everywhere around the world, wherever Indian music is performed or taught in workshops or lecture demonstrations, I would love it if Indian musicians and violinists take pride in this fact and spread the word. This is the best way to propagate our music and make everyone aware of the violin’s historic roots in India.

What can we look forward to during your performance in Behala classical festival?  

Since this festival is being held outdoors which is how Indian classical music should be listened to, I will be performing Raags of that time of the day.

How do you approach interpreting a piece of music, and what factors influence your interpretation?

One important factor would be if the composition or that piece of music is structured or free flowing. The second would be the genre and the scale it relates to in Indian Classical music.

Can you share an experience where you had to overcome a significant challenge in your performance?

One significant challenge that every artiste including me experiences during the performance is gauging the audience’s mood before the beginning of the concert. For ex: if the audience is a connoisseur audience or a relatively curious audience with no idea of the music or a combination of both. How do you handle this? That will determine the success or failure of the concert.

Share an anecdote about a memorable performance or collaboration that had a significant impact on your musical journey?

My first attempt at collaboration was with the great Late Ray Manzarek -founder member of the band Doors. That interaction gave me an understanding of how to work with all genres of music with my grounding in Indian Classical Music